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π™±πšπ™Έπ™½π™Άπ™Έπ™½π™Ά π™»π™Έπ™Άπ™·πšƒ 𝙱𝙰𝙲𝙺 πšƒπ™Ύ 𝙻𝙸𝙡𝙴 

Auditing Self through Muse

By Madhu Goteti Published 10 months ago β€’ 8 min read

π™±πšπ™Έπ™½π™Άπ™Έπ™½π™Ά π™»π™Έπ™Άπ™·πšƒ 𝙱𝙰𝙲𝙺 πšƒπ™Ύ 𝙻𝙸𝙡𝙴 

π™Έπš—πšπš˜ πšπš’πš’πš—πš πšŠπš›πš–πšœ 𝚘𝚏 𝚏𝚊𝚝𝚎 πš–πš’ πš–πš’πšŽπš— 𝚠𝚊𝚜 𝚜𝚝𝚊𝚐𝚎𝚍 πšœπšπš’πš•πš•πš‹πš˜πš›πš—Β 

π™°πšœ πšπš˜πš™πšœπš’-πšπšžπš›πšŸπš’ πš˜πšŸπšŽπš› πšπš πš’πšœπšπšŽπš πš‹πš›πš˜πš πšœ, πš’πš—πš•πšŠπš’πš πšžπš™πš˜πš— πšπš‘πš˜πšœπšŽ πš–πšŠπš“πšŽπšœπšπš’πšŒ πšŒπš›πš˜πš πš—πšœ

𝙾! πš‚πšžπšŒπš‘ 𝚜𝚝𝚞𝚏𝚏 πš‘πšžπš—πš πšžπš™ πš’πš— πšŠπš’πš›, πššπšžπš’πšπšŽ πšŒπš˜πš—πšπš›πšŠπš›πš’ πš˜πš— πš’πšπšœ πš˜πš πš—Β 

π™Έπš—πšπš˜ πšŠπš’πš›πš’πš—πšπšœ πš™πšžπš πšπš˜πš›πšπš‘ 𝚊𝚜 πšžπš—πšπšŽπš—πšŠπš‹πš•πšŽ πš‹πš›πšŽπšŠπšŒπš‘πšŽπšœ; πš„πš—πšπš˜ πš›πš’πšœπš’πš—πšπšœ πš’πš—πšŽπšπšπšŠπš‹πš•πšŽ 𝚜𝚘 πšπšŽπš–πš™πšŽπšœπšπšžπš˜πšžπšœπš•πš’ πšπš›πš˜πš πš—Β 

𝙾! π™»πš˜πš˜πš”! πšƒπš˜ πšπš‘πšŠπš,Β 

𝙰 πšœπšžπš‹πšπšžπšŽπš πš™πšŠπš—πš, 𝚊 𝚍𝚎𝚊𝚍 πš‹πšŽπšŠπš 𝚝𝚘 πšŠπš— πš’πš–πš™πšžπš•πšœπšŽ, πšœπšπš’πš•πš• πš•πš’πš—πšπšŽπš›πšœ πš˜πš—, π™°πš—πš ,𝚊𝚜 𝚘𝚏 , πš’πš— 𝚌𝚞𝚝-πšπš‘πš›πš˜πšŠπš πš–πšŽπš•πšŠπš—πšŒπš‘πš˜πš•πš’, πš—πš˜πš—πšŽ πšπš‘πšŽ πš πš˜πš›πšœπšŽ, πšπš˜πš› πšπš‘πšŠπš : 𝙸 𝚠𝚊𝚜 πš‹πš˜πš›πš—

𝚈𝚎𝚝 πšœπšŽπšŽπšπš’πš—πš πš‹πšŽπš—πšŽπšŠπšπš‘ πšπš‘πš˜πšœπšŽ πšŒπš˜πš—πšœπšπšŠπš—πš πšπš πš’πšœπšπšœ 𝚊 πš‘πšžπš–πš‹πš•πšŽ πš‘πš˜πš™πšŽ πš‘πšŠπš—πš”πšŽπš›πšŽπš πš˜πš—Β 

π™΅πš˜πš› πšπš‘πš˜πšžπšπš‘, 𝚊𝚜 πš’πš— πšπš‘πšŽ πš‹πš›πš˜πš”πšŽπš—,

𝙰 πš πš›πšŽπšŠπšπš‘πš’πš—πš πšŠπš›πš›πš˜πš  πšŠπšπšπš›πš˜πš—πšπšœ πš’πšπšœ πš‘πšŠπš›πš›πš˜πš πšœ, π™°πš—πš πšœπš˜Β πšπš›πš’πšπš‘πšπšŽπš—πš’πš—πšπš•πš’β€” πšŒπš˜πš–πšŽπšœ πšžπš™ πšπš˜πš›πšπš’πš—πš πš˜πš—

πšƒπš‘πšŽπš›πšŽπš’πš—, πš–πš’ πšπšŽπšŽπš‹πš•πšŽπš› πšœπš™πš’πš›πš’πš πš•πš’πšπšπšœ 𝚘𝚏𝚏 πš’πšβ€™πšœ πš˜πš πš— πš πš’πš—πšπšœ, πšπšŠπšπš‘πšŽπš›πš’πš—πš πš‘πš˜πš™πšŽ 𝚝𝚘 πšŒπšŠπš›πš›πš’ πš˜πš—

πšƒπš‘πšžπšœπš•πš’, 𝚊𝚜 πšπš‘πšŽ πš›πšŠπšπš’πš—πš πš’πš˜πš—πšπšŽπš› πšŽπšŒπš•πš’πš™πšœπšŽπšœ πš’πšβ€™πšœ πš˜πš πš— πšŸπš’πš›πšπšžπšŽπšœ 𝚝𝚘 𝚊 πš πš˜πš›πš•πš 𝚜𝚘 πšœπšŒπšžπš›πš›πš’πš•πš˜πšžπšœπš•πš’ πšœπš™πšžπš—

πšƒπš˜ πšπš‘πšŠπš,Β πš–πš’ πš‘πšŽπšŠπš›πš, πšπš›πš˜πš–Β πšπšŽπšŠπš πš‹πšŽπšŠπš 𝚝𝚘 πšŒπš˜πš•πš πšπš•πšŽπšŽπšπšœ, πšœπšŽπšŽπš”πšœ πš’πšβ€™πšœ πš˜πš πš— πšŒπš˜πš—πšπšŽπš—πšπšœβ€™ πšŒπšŠπš•πš–Β 

π™°πš—πš πšπš‘πšŽπš›πšŽπš˜πš, πšπš‘πš’πš—πš”πš’πš—πš, πš πš‘πšŽπš— 𝙸 πšœπš‘πšžπš πš’πš πšŠπš•πš• πšžπš™, πšπš‘πšŽ πš‘πšŽπšŠπš›πšπš‘ πšœπš‘πšŠπš•πš• πšπš’πš—πšŠπš•πš•πš’ πšπšŽπšŽπš• β€”πšπš‘πšŠπš β€”πšπšŽπšŠπš•πšπš’ πš πšŠπš›πš–πšπš‘?!

πšƒπš‘πšŽπš— πšπš‘πšŽ πš›πšŽπš—πšπšŽπš›πš’πš—πš πšœπš™πšŽπšŽπšŒπš‘ πš•πš’πšπš‘πšπšœ πšžπš™ πšπš‘πšŽ 𝚍𝚊𝚒, 𝚊𝚜 πšπš‘πš˜πšžπšπš‘, 𝚊 πš—πšŽπš  πš–πš˜πš›πš— πš‘πšŠπšœ πšπš˜πšπšπšŽπš— πšπš›πšŽπšœπš‘πš•πš’ πš‹πš˜πš›πš—Β 

π™°πš—πš, 𝚊𝚜 πš’πš, πšœπš‘πš˜πš πš’πš—πš πšžπš™ πš’πš— πš πš˜πš›πšπšœ, 𝚊𝚜 πš’πš πšπšžπš•πš’ 𝚍𝚘𝚎𝚜, πš™πšŽπš—πš—πš’πš—πš πš’πš— πšŠπš•πš• πš˜πšπš‘πšŽπš› πš™πšŠπš›πšŠπšπš˜πš‘πš’πšŒπšŠπš• πšπš˜πš›πš–πšœ

π™±πšžπš, πšŽπšŸπšŽπš— πšπš‘πš˜πšžπšπš‘ 𝚝𝚘 πšœπš˜πš–πšŽ, πšŠπš•πš• πšπš‘πš’πšœ πš–πšŠπš’ πšœπšŽπšŽπš– πš•πš’πš”πšŽ 𝚊 πš™πšŠπšœπšœπš’πš—πš πšπš•πšŠπšžπš—πš π™·πšŽπš›πšŽπš‹πš’, 𝙸 𝚍𝚘 πšπšŠπš›πšŽ 𝚝𝚘 πš‹πšŽπšŠπš› πš πš‘πšŠπš πš˜πšπš‘πšŽπš›πšœ πš‘πšŠπšŸπšŽ πš‹πš•πšžπš—πšπšŽπš›πšŽπš πšžπš™πš˜πš—

πš„πš—πšœπšŠπš’πšŠπš‹πš•πšŽ, 𝚊𝚜 πš’πš πš’πšœ, πš’πš— πšπš‘πš’πšœ πšπš’πšŸπšŽπš›πšœπšŽ πš πš˜πš›πš•πš 𝚘𝚏 πšžπš—πšŽπššπšžπšŠπš•πšœ , πšπš‘πšŽ πšœπšŽπšŒπšžπš•πšŠπš› πš’πš— πš–πšŽ πš“πšžπšœπš πšŒπšŠπš›πš›πš’πšŽπšœ πš˜πš—.

𝚈𝚎𝚝 πšπš‘πšŽπš›πšŽπšžπš™πš˜πš—, πšπš˜πš› πšπš‘πš’πšœ πšœπš’πš•πšŽπš—πšŒπšŽ 𝚝𝚘 πš™πš•πšŠπš’ πš’πšβ€™πšœ πšπš’πš›πšπšŽ, πš˜πšŸπšŽπš› πšŠπš—πš πšŠπš‹πš˜πšŸπšŽ, πšπš‘πš˜πšœπšŽ πšπš’πš’πš—πš πšπš›πš˜πšŠπš—πšœβ€¦

πšƒπš˜ πšπš‘πšŠπš, 𝙸 πš–πš˜πšŸπšŽ πš˜πš— ….

π™°πš—πš 𝚝𝚘 πšπš‘πšŠπš πš›πš˜πšŠπš› 𝚊𝚜 πš’πš— 𝚊 𝚟𝚘𝚠𝚎𝚍 πšŸπš˜πš’πšŒπšŽ πšπš˜πšžπš‹πš•πš’πš—πš πšŠπš•πš˜πš—πš β€˜πšƒπš’πšœ πš€πšžπš’πšπšŽ πš›πš’πšπš‘πš, πš πš‘πšŽπš— 𝚒𝚘𝚞 𝚜𝚊𝚒: 𝙸 𝚠𝚊𝚜 πšπš›πšŠπš—πšœπšπš˜πš›πš–πšŽπš...

𝚈𝚎𝚜, π™Έπš—πšπš˜ πšŠπš—πš˜πšπš‘πšŽπš› β€”πš’πš—πšπš˜ πš πš‘πš’πšŒπš‘, πš–πš’ πšŽπšœπšœπšŽπš—πšŒπšŽ 𝚠𝚊𝚜 πšπšŠπš”πšŽπš—; π™°πš—πš πš•πš’πš”πšŽ 𝚊 πš™πš›πšŽπšœπšŽπš—πšŒπšŽ πš’πš— πšπš›πšŠπš—πšœπš’πšπš’πš˜πš—πšœ, 𝙸 𝚠𝚊𝚜 πš•πšŽπšπš 𝚝𝚘 πš‹πš’πšπš˜πš—πšŽπšœ !

π™±πšžπš πšπš‘πšŠπš 𝚠𝚊𝚜, πš πš‘πšŽπš— 𝙸 𝚠𝚊𝚜 πš’πš˜πšžπš—πš, πš πš’πšπš‘ πš’πš—πš—πš˜πšŒπšŽπš—πšŒπšŽ πš•πšŠπš’πš— πš˜πš— πšŒπš˜πšπšπš’πš—πšœ πšπš˜πš› πš˜πšπš‘πšŽπš›πšœ 𝚝𝚘 πš–πš˜πšŒπš” πš˜πš—Β !

π™²πš›πšžπšŒπš’πšŠπš•πš•πš’ 𝚜𝚘, πš–πšŠπš—πš’ πš›πš˜πšžπšπš‘ πš›πšžπšπšπš•πšŽπš›πšœ πš πšŽπš›πšŽ πšπš‘πšŽπš— πšŒπšŠπš•πš•πšŽπš πšžπš™πš˜πš— ,

π™°πš—πš πšπš‘πšŽπš’β€”πš πš’πšπš‘ πšπš‘πšŽπš’πš› 𝚝𝚠𝚘 πšπš˜πš•πš πšπš˜πš•πš•πš’πšŽπšœ, 𝚍𝚞𝚐 πšžπš™ πšπš›πšŠπšŸπšŽπšœ, πš’πš—πšπš˜ πš πš‘πš’πšŒπš‘ 𝙸 𝚠𝚊𝚜 πšŒπšŠπšœπšžπšŠπš•πš•πš’ πšπš‘πš›πš˜πš πš—

π™½πš˜πš 𝚜𝚘 πš–πšžπšŒπš‘ 𝚊𝚜 πš’πš— πš›πšŽπšŠπš•πš’πšπš’, πš–πš’ πšŽπšœπšœπšŽπš—πšŒπšŽ πš’πš— πš™πš›πšŽπšœπšŽπš—πšŒπšŽ, πš πš’πšπš‘ πš—πš˜ πšπš›πšŠπšŒπšŽπšœ 𝚘𝚏 πšπš˜πš›πš–πšŽπš›πš•πš’, πšœπšŽπšŽπš–πšŽπš πšπš˜πšπšŠπš•πš•πš’ πšŠπš•πš• πšπš˜πš—πšŽΒ 

𝚈𝚎𝚜, πš•πš’πšπšŽ πš πš’πšπš‘ πš’πšπšœ πšžπš™πšœ πšŠπš—πš πšπš˜πš πš—πšœ, πšπš’πš πšœπšžπš›πš™πš›πš’πšœπšŽ πš–πšŽ πš πš’πšπš‘ πš’πšπšœ πš˜πš πš— πšπš’πšŸπšžπš•πšπš’πš—πš πšπšžπš›πš—πšœ πšƒπšŠπšŒπš’πšπš•πš’ πšπšŽπšŠπš›πš’πš—πš πšŠπš— πš’πš–πšŠπšπšŽβ€”πšœπš˜ πšŒπš˜πš–πš–πš˜πš—πš•πš’ πšπš˜πšžπš—πšβ€¦

𝙾! 𝙻𝙸𝙡𝙴 β€¦πš’πš— πš–πš’πš•πš πšœπš•πšŽπšŽπš™πšœ πšœπšπš’πš•πš• πšŽπšŒπš‘πš˜πšŽπš πšŠπš•πš˜πš—πš

πšƒπš‘πšŽπš—, πšπš’πš–πšŽ 𝚊𝚜 πšœπš πš’πšπš 𝚊𝚜 πšœπš’πš‘ πšœπšŒπš˜πš›πšŽπšœ 𝚝𝚘 πšœπšŽπšŸπšŽπš—πšœ πšŠπš•πšœπš˜ πš‹πšžπšπšπš’πšŽπš πšŠπš•πš˜πš—πš

π™΅πš˜πš› πš’πš πš’πš— πš•πš’πšŸπš’πš—πš πšπš‘πšŽπš›πšŽ πš πšŽπš›πšŽ πšŠπšπšŸπšŽπš›πšœπšŠπš›πš’πšŽπšœ, πšπš‘πšŽπš— πš’πš— πšπš’πšŸπš’πš—πš, πšŽπšŸπšŽπš›πš’ πšπšŠπšžπš•πšπšŽπš πšπšŽπšœπšπš’πš—πš’ πšŒπš‘πšŠπšœπšŽπš πš–πšŽ πšŠπš›πš˜πšžπš—πš ….

π™°πš—πš πš˜πš— πšŠπš—πš πš˜πš— πšŠπš—πš πš˜πš—Β πšπš˜ πšœπšπšŠπš—πš, πšŒπšŠπš–πšŽ πšπš›πšŽπšŠπšπš’πšŽπšœ 𝚝𝚘 πš–πšŠπš”πšŽ πšπš‘πšŽπš’πš› πšπš’πš›πšŽπš•πšŽπšœπšœ πš›πšžπš—πšœ

π™Ύπš—πš πšŠπš›πšπšœ πšπš‘πšŽπš’ πš–πš˜πšŸπšŽπš πš πš’πšπš‘ πš–πš’πš›πšπš‘πšœ πšπš›πš˜πš πš’πš—πš, πšπš›πš˜πš πš•πš’πš—πš 𝚝𝚘 πšπšŠπš”πšŽ πš˜πš— πšπš‘πšŽπš’πš› πšπš’πš—πšŠπš• πšπš›πš˜πšžπš—πš πšƒπš‘πšŽπš›πšŽπš˜πš πš’πš πšŠπš•πš• πšŠπš™πš™πšŽπšŠπš›πšŽπš, πšœπšπšŠπš–πš™πšŽπš πšŠπš—πš πšœπšŽπšŠπš•πšŽπš β€”πšŠπšœ πš’πš β€˜πšπš πšŠπšœ β€œπšŠπš•πš›πšŽπšŠπšπš’ πš—πš˜πš›πš–πšŽπš.”

πšƒπš˜ πšπš‘πšŠπš ,Β  πš†πš‘πš’πš•πšŽ πšŠπš‹πš‘πš˜πš›πš›πš’πš—πš πšπš‘πšŽ πšœπšŽπš—πšœπšŽπš•πšŽπšœπšœπš—πšŽπšœπšœΒ πš‘πš˜πš™πšœπšŒπš˜πšπšŒπš‘πš’πš—πš πš–πš’ πšœπš˜πšžπš•,

πš’πš πšŠπš•πš• πšœπšŽπšŽπš–πšŽπš 𝚊𝚜 πšπš‘πš˜πšžπšπš‘ β€”πšœπš˜πš–πšŽ πšŽπšŸπš’πš•πšπš˜πšŽπš›β€™πšœ πš™πšžπš—

πš‚πš˜ πš–πšžπšŒπš‘ 𝚜𝚘 , πšžπš—πšπš˜πš›πšŽπšœπšŽπšŽπš—, πšŠπš—πš πš πš’πšπš‘ πšŠπš•πš• πšπš‘πšŽ πšŽπš‘πšπšŽπš—πšπšŽπš πšŽπš—πšŸπš’πšŽπšœ, πšπš‘πšŽπš›πšŽ πšŒπšŠπš–πšŽ πšŠπš—πš˜πšπš‘πšŽπš› πšπš’πšœπšŒπš˜πš–πšπš˜πš›πšπš’πš—πš πšπšžπš›πš—

π™°πš—πš πšπš˜πš› πšŽπšŸπšŽπš›πš’ πš›πšŽπš—πšŽπš πš’πš—πš  𝚍𝚊𝚒 πšžπš—πšπšŽπš› πšπš‘πšŽ πšœπšžπš—Β ; πšŠπš—πš πšžπš—πšπš’πš• πš’πš 𝚠𝚊𝚜 πšŠπš•πš• β€”πšπš’πš—πšŠπš•πš•πš’β€”πšœπšŠπš’πš πšŠπš—πš πšπš˜πš—πšŽ β€”

π™ΏπšŽπš›πš‘πšŠπš™πšœ πšπš‘πšŽπš›πšŽ, πš–πš’ πš†π™Έπ™»π™»,Β πšπš‘πšŽ πš‹πš›πšŽπšŠπš πš— πš‹πšžπšπšπšŽπš› 𝚘𝚏 πš–πš’ πšœπšžπšœπšπšŽπš—πšŠπš—πšŒπšŽ ,πš”πš’πšŒπš”- πš‹πšŠπš•πš•πšŽπš πš–πšŽ 𝚝𝚘 πšŠπš—πš˜πšπš‘πšŽπš› πšœπš™πšžπš— β€”πšŠ πš™πš˜πš πšŽπš›πšπšžπš• πš›πšžπš—!

πš‚πšŽπšŽπš–πš’πš—πšπš•πš’ πšπšŽπšπšŽπš›πš–πš’πš—πšŽπš, πš›πšŽπšŸπš’πš•πš’πš—πš πš–πšŽ πš’πš—πšπš˜ πššπšžπš’πšπšŽ πšŠπš—πš˜πšπš‘πšŽπš›; πš‹πšžπš πš’πš— πšŠπšŒπšπšžπšŠπš•πš’πšπš’, 𝙸 𝚠𝚊𝚜 πš•πš’πšπšŽπš›πšŠπš•πš•πš’ πš˜πšŸπšŽπš›πšπšžπš›πš—πšŽπš

π™²πšŽπš›πšπšŠπš’πš—πš•πš’, πšƒπš‘πšŠπš πš†π™Έπ™»π™» β€”πš πš‘πš’πšŒπš‘ πšπš›πš’πšŽπš πš πšŽπš•πš•, 𝚝𝚘 πšπš’πšœπšπš’πš•πš•Β πš–πš’ πšπšŽπšŠπšπš‘πšœβ€™ πš–πš˜πšŒπš”πš’πš—πš πš›πšŽπšπšžπš›πš—, πš–πšžπšŒπš‘ πš•πš’πš”πšŽ as if πš•πš’πšπšŽ πš’πšπšœπšŽπš•πš oπšžπšπš•πš’πšŸed πš’πšπšœπšŽπš•πš to be πš•πš˜πšœπš πšŠπš—πš πšπš˜πšžπš—πš …

πšˆπšŽπšŠπš‘! πšƒπš‘πšŠπš πš’πš— πš πš‘πš’πšŒπš‘ 𝚠𝚎 πšŽπš‘πš™πšŽπšŒπš πš˜πš—πšŽ πšπš‘πš’πš—πš, πšŠπš•πšπš˜πšπšŽπšπš‘πšŽπš› πšŠπš—πš˜πšπš‘πšŽπš› 𝚐𝚎𝚝𝚜 πš™πšžπšœπš‘πšŽπš πšŠπš›πš˜πšžπš—πš

πš†πš‘πš’β€”πš›πšŽπšπšŽπšŽπš–πš’πš—πš 𝚞𝚜, 𝙾!Β π™»πš˜πš›πš, πšœπšžπšŒπš‘ 𝚊 πš†π™Έπš‚π™΄ πš›πšžπšœπš‘πšŽπšœ πš˜πš—?Β 

π™Ύπš πš πš‘πšŠπš πš πš˜πš›πšπš‘ πš’πšœ πšπš‘πš’πšœ πš‹πšŠπš›πšπšŽπš› πš πš‘πšŽπš— πš‘πšŽπšŠπšŸπšŽπš—β€™πšœ πšπš•πš˜πš›πš’β€” π™ΏπšŠπš’πšœ 𝚊 πš‘πšŽπšŠπšŸπš’ πš™πš›πš’πšŒπšŽ 𝚝𝚘 πšŽπšŸπšŽπš›πš’ π™Ύπšžπš—πšŒπšŽΒ 

π™Έπšœ πšπš‘πš’πšœ πš•πš’πšπšŽ ?Β 

𝚈𝚎𝚜, Β πš’πšβ€™πšœ πšπš‘πš’πšœ β€”πšœπš πšŽπšŽπš πš•πš’πšπšŽ, πš πš’πšπš‘ πš’πšβ€™πšœ πš›πšŽπš—πšŽπš πšŽπš πš’πš—πšπšŽπš—πšœπš’πšπš’, πš“πšžπšœπš πš›πšŽπš—πšŽπš πšœ πš’πšπšœπšŽπš•πš πš‹πšŠπšŒπš” 𝚝𝚘 πš™πš˜πšžπš—πšŒπšŽΒ 

πš‚πšŒπšŠπšπšπšŽπš›πšŽπš πšžπš—πšœπš‘πšŽπšŠπšπš‘πšŽπš 𝚝𝚘 πšŽπšŸπšŽπš›πš’ πšœπšŽπš›πšŸπš’πšŒπšŽ 𝚘𝚏 πšπš‘πšŽ πš‘πšŽπšŠπš›πš, πšŠπš—πš 𝚝𝚘 πšŽπšŸπšŽπš›πš’ πš–πš’πš—πš πšπš˜πš’πš•πš’πš—πš πš‘πšŠπš›πš; πš’πš— πš›πšŽπšŒπšžπš›πš›πš’πš—πš πš›πšŽπšœπšŽπšπšœ 𝚊𝚜 πšπš’πš–πšŽ πš›πšŽπš–πšŠπš’πš—πšœ πš’πš— πšπš’πš–πšŽ, πšπš˜πšπšŠπš•πš•πš’ πš›πšŽπš πš˜πšžπš—πšβ€¦ πšƒπš’πš–πšŽ πš‹πš˜πšžπš—πš ?!

π™°πš—πš πšπš‘πšŽπš—, 𝚊 πš•πš’πšπš‘πš πšŽπš–πšŽπš›πšπšŽπšœ πš™πš’πšŽπš›πšŒπš’πš—πš πšœπš‘πšŠπšπš˜πš πšœ 𝚝𝚘 πš‹πšŽ πšπš˜πšžπš—πš; πššπšžπš’πšŒπš”πš•πš’ πš›πš’πšœπšŽπš— 𝚝𝚘 πšŠπšœπšŒπšŽπš—πš πšŠπš—πš πšπšŠπš—πšŒπšŽ,

π™Ύπšžπš πšπš‘πšŽπš›πšŽ 𝚊𝚜 πš’πš πšπšžπš•πš•πš’ πšπš›πšŠπš—πšŒπšŽπš...

π™Έπš— πš’πšπšœ πšœπš‘πšŽπšŽπš›Β πšŽπšŸπšŠπš—πšŽπšœπšŒπšŽπš—πšŒπšŽ, πš’πš 𝚐𝚎𝚝𝚜 πšžπš™, πšπš›πšŽπšœπšœπšŽπšœ πšžπš™, πšπš˜πš› 𝚒𝚎𝚝 πšŠπš—πš˜πšπš‘πšŽπš› β€”πš—πšŠπš”πšŽπš πšπš›πšžπšπš‘ 𝚝𝚘 πš‹πšŽ πš›πšŽπš‹πš˜πš›πš— Β 

𝚈𝚎𝚜 , πšŽπš›πšŠπšœπš’πš—πš πšπš‘πš’πšœ πšŽπš‘πš’πšœπšπšŽπš—πšŒπšŽ πš πš‘πš’πšŒπš‘ πš–πšŠπš”πšŽπšœ πš’πšβ€™πšœ πšπšŠπš•πšœπšŽ πšŒπš•πšŠπš’πš–πšœ, πšŠπš—πš πšπš‘πšŽπš›πšŽπšžπš™πš˜πš—, 𝙸 πšœπš‘πšŠπš•πš• πš‹πšŽ πš—πšŽπš πš•πš’ π™±π™Ύπšπ™½ ....

π™Ώπš•πšžπšŒπš”πšŽπš πšπš›πš˜πš– 𝚊 πšŒπš˜πš—πšœπšŽπššπšžπšŽπš—πšŒπšŽ 𝚊𝚜 𝙸 πš πšŠπš•πš” πšπš‘πš›πš˜πšžπšπš‘ πšπš‘πš˜πšœπšŽ πšŽπšπšŽπš›πš—πšŠπš• πš™πšŠπšπš‘πšœ, πššπšžπš’πšπšŽ πšžπš—πš‹πš˜πšžπš—πš

𝚈𝚎𝚜, πšπšŠπš’πš•πš’πš—πš 𝚝𝚘 πšπšŽπšπšŒπš‘ πš–πšŽ 𝚊𝚝 πšπš’πš›πšœπš ,πš–πš’ πš–πšŠπš”πšŽπš›, πš”πšŽπšŽπš™πšœ πš–πšŽ , πšπš‘πšžπšœπš•πš’, πšœπš™πšŽπš•πš•πš‹πš˜πšžπš—πš!

𝚈𝚎𝚝 πšπš‘πš’πšœ πš“πš˜πšžπš›πš—πšŽπš’ πš πš‘πš’πšŒπš‘ πš’πš—πšŸπšŠπš›πš’πšŠπš‹πš•πš’ πšŠπšŒπšŒπš˜πš–πš™πšŠπš—πš’πšŽπšœ πš–πšŽ πšπš›πš˜πš– πš‹πš’πš›πšπš‘ 𝚝𝚘 πš›πšŽπš‹πš’πš›πšπš‘, πšŠπšπšπš’πš›πš–πšœ 𝚝𝚘 𝚜𝚊𝚒 β€”Β  π™²πš˜πš–πšŽ, πšœπš•πš’πšπšŽ πšŠπš—πš πš™πšŠπšœπšœ πš˜πš— πšžπš—πšπš’πš• πšŠπš•πš• 𝚜𝚝𝚊𝚐𝚎𝚜 πšŠπš›πšŽ πš˜πšŸπšŽπš› πšŠπš—πš πš’πš˜πšžπš› πš™πš’πšπš‘πš’ πš πš˜πš›πš” πš’πšœ πšŠπš•πš• πšπš˜πš—πšŽ β€”πšžπš—πšπš’πš• πšπš‘πšŽπš—, πšŒπšŠπš›πš›πš’ πš˜πš—!

Β© ✍️ π™ΌπšŠπšπš‘πšž π™Άπš˜πšπšŽπšπš’ π™ΌπšŠπš›πšŒπš‘ πŸΈπŸ½πšπš‘ , 𝟸0𝟸𝟻

Preceding poem is a choice model of my poetry, to which, I shall add my introspective analysis ( my two cent β€”point of view)

I undertook the endeavor of scribing poetry to make myself familiar with my own thoughts and also aid the readers to equally fit into its meaning as it occurred to them.

I am of the firm belief that many matters when versed aright, can assist in providing pathways of communication; without losing what is being said as precious leavings. If you notice intently I have abstained from period building β€”that is, presenting a single idea without full stops. That’s because I felt that the unity of thought required me to use semicolon and colons to piece in what I was thinking.

While composing this poem the object of attention(life) appeared naturally, but it was also suitably written to the clear ideas thus acquired. Obviously, the words and phrases related in such a sense were discharged with what they served to show in effectβ€”β€œbringing life back to life. β€œ

In this poem words as expressive thoughts have conveyed multifarious ideas and many meanings. Some words analogously paralleled each other in the following words such as : topsy turvey, untenable breaches. They adduced a bondage that developed as a reasoning ,no doubt, for the preservation of why I was looking at β€œfate,” with such a concern. I used many figures of thought as ornaments to orchestrate and impart special expressions. For example:

O! Look! Β 

A subdued pang , a dead beat to an impulse, still lingers onΒ 

And ,as of , in cut-throat melancholy, none the worse, to that : I was found!

Herein ☝️ I tried to throw a towel over the hideousness with which many stately administrators could govern their people by creating circumstances wherein the

surest of us all could feel nothing more than nincompoops. One such thing could be the recent political upheavals around the globe that depicts: vehemence of various injustices , peace without securities, and wars without definite Allies.

While reading the poem the reader might feel aroused to what might come next.

To me, naked thoughts when properly dressed becomes poetry.

My poem bestows the requisite rhetoric to make deeper courtesies to the significant thoughts that emerge in my mind.

Muse is meant to be more than a superficial scrimmage over sense and sensibilities. This is the chief reason I preferred to use a free verseβ€”as my poetic form of expression. The marvel of uncommon strikings of imagery (through words,) is,indeed, glorious.

Herein, the prosaic effort lifts itself through its own imagined suffering.

An inflexible mind might reject such a suffused expression as some askewed structure or form.

Meaning can be lost in structure unless the eye speaks to an ear effectively. Also, if the heart insists on putting its own meaning upon first inspections, then the reader may embark upon a dangerous crusade to where words could ring a different tone.

The poem selected as a precept of expression reflects the following:

Cohorts of present participles ( β€œing”forms of verbs) are conjoined with other alongside actionable subordinating verbs.

This method may seem to be projecting appalling directness but by no means intends to be unusually absurd.

The poem projects surrealistic nostalgia that may not appeal with a good many readers.

Little pieces build together with phrases and clauses, both buried hand in hand, can seem like stand alone entities, yet such an unmade fashion upends the truest essence of a soulful exposition.

Rhyme and Rhythm: The scheme is proportionate yet it

seems to be moving, up and down all over around, with a sudden impulsiveness ,as though, abruptly holding moldy secrets . That may well be seem like errors renouncing on grave mistakes with meanings suspended from the beginning to the end. In that sense the whole piece could feel enigmatic. The poem stands without glory, possibly at the verge of imagined melancholy. With that said, I have risked every ray of light; in great aims , thoroughly. But, in small, my earnestness reveals an invincible resolution to bear β€œ awe,” as the most unfaltering practice.

I speak meaningfully to the phrases that reflect some originality. Talk about conjunctions periods commas and colons ….

The melancholic 😞 emotion may not be relatable to the immediate effect of observation…

A Lot of abstraction breaks convention, though. But beyond what’s being portrayed, there’s something else that stands within reach β€”the unifying theme of the versification…. There’s a positive ending

Soliloquy Synopsis Β :

It’s shadowy and allegoric .. somewhat , a more generalized abstraction of life . There is, again , a confession that is very shocking; it’s mainly about the causes of the dubieties that have worked into my life β€”all along.Β 

Perhaps , it exhibits the extreme sentiments ,and sketches out a cloudy illusion of events and incidents in a Β peculiar kind of way.

Towards the end of the poem, it dashes into a unifying theme of how fate and fortune lead us into a transcendence which is timelessly eternal . Not else where achieved , it bothers and teases the way life probably cheats .Β 

The poem captures the brooding spirit thatΒ courageously seeks hope,

and it also delineates a double attempt to exhibit the contrasting parallels of joys and sorrows, failures and successes which cudgel as elements in shaping life.

In a steady sense, this poem ingenuously Β summoned me to dig deep β€”apparently, upon life’s incidental contexts.Β 

The description speaks up commandingly without a hitch!Β 

... And the rest that’s unsaid could be left to those who beseech their own form through this offering. I hope this goes along in giving the reader a sense of connection to follow theirΒ own β€”truth reveals.

In short and at length, throughput, I had depicted life as deceptive and presented material that makes us look like a motley fool while handling deceit.

And the spice of injustice which quite certainly reveals in the end turns out to be quite ironic... as if, echoingβ€”What is alive is seldom truly perfect. And to attain perfection one must dig graves or write epitaphs to understand the good in the good and bad in the bad.

Smooth sweltering velvety experience expressed smoothly

Such scavenging unearths the smooth deficiencies constituting the makings of destinies, and in one sense of the subject β€”reveals and amounts to this:

Life comes with no warrants of excise and no guarantees of analysis as β€”it is wholly surprising. It exists in the inter-twists of an extraordinarily different form of amalgam which represents this legit’ premise :Β 

What’s construed as a cognitive enterprise is actually an adjudication of perspective to life!

All experiences that life bestows upon us as teachings may or may not assist us in achieving it’s full intents.

For Good or for bad , andΒ for better or worse, someΒ instances, seemingly alter the very essence of our presence;Β of living as a β€œbeing,” in itself.Β 

Signing off as :

A rhymester with an authentic risible view β€” call me a dallier dilettante or a librettist ! MG

Poetry

About the Creator

Madhu Goteti

The thrums in the strums and the delights in the humdrum of life have always fascinated me.

It’s that feast of reason and flow of soul; in all that I see and all that I shall behold!

I am an avid lover of art and philosophy!

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